This is topic College Student Projectionist in forum Film Handlers' Forum at Film-Tech Forum ARCHIVE.
To visit this topic, use this URL:
https://ft-forum.com/ft/cgi-bin/ubb/ultimatebb.cgi?ubb=get_topic;f=1;t=000364
Posted by Sara Serine Orton (Member # 208) on 11-05-1999, 12:04 AM:
I'm new to this forum, so forgive me if I sound like I have no idea what I am doing... because I really don't!
I've been in the theater business on and off over 5 years and I've been projecting 4 of those years. During this time I have learned very little about film projecting other than threading, building, and breaking. I want to understand what I am doing and I want to get more out of our equiptment than just enough to get by. I am now working at the University of Idaho projecting 35mm films on a Century (don't ask me the model number... the manual makes no mention of it but the maunal was publish in 1965.) We show second run films. Most of these film (especially the ones that come from New Yorker) are in horrible condition. While trying to restore these films I thought about how many projectionists just don't seem to take any pride in their job and the films they project. I don't want to be one of those people. I have begun to research about the proper procedures on projecting and so on. We do not have nice equiptment or lots of money. We are very lucky to have a DTS system. I was wondering if you help me and share some of you secrets about projecting with me. What are some of the common mistakes? What is the proper way to send out a film (do you put it in the cans headers first?) Also, are there any classes offered in the northwest that I can learn this stuff? Idaho does not have a projectionist union, at least that I have heard of. I would appriciate any info you could pass on to me.
Thank You------------------
Sara Serine Orton
Film/TV Major
University of Idaho
"Life is like a straw, it only sucks when you want it to."
Posted by Brad Miller (Member # 2) on 11-05-1999, 02:25 AM:
There's a paper on the main page of the site "Improving your onscreen presentation" you might want to check out. As to your other questions, please give us as much info as you can on your equipment. If you can send pictures if you don't know, that'll do fine. The model number on that Century projector should be on a plate right above the lens on the front. Please let us know what type of platter you have and any other information you can provide.
If you have a specific list of questions, don't hesitate to post them here. You're bound to get plenty of advice, as everyone on the forum takes pride in their work. 
I ship my films "heads out"/"emulsion out". This means if you were to hold the reel of film with the head end out, the soundtrack edge towards you, the starting edge of the film would be hanging off the left side.
Posted by Joe Redifer (Member # 3) on 11-05-1999, 04:39 AM:
Well you certainly came to the right place! The first thing I would do is read as much of the information posted on the forum as
possible. Not all of it relates to what you are doing, and can be skipped. But you'll have to figure out what relates and what
doesn't. And if you ever have any questions about anything specific, be sure to post a new topic like you just did and ask away!
We have literally hundreds of projectionists and engineers scouring over this forum every single day. As far as shipping out film, I usually ship out heads up. But this is because I am working with platters and that's just how they
come off. I always prefer to get my film tails out because it makes it easier to inpect and quicker to build. I agree that way too
many "projectionists" simply do not care!
Posted by Erika Hellgren (Member # 22) on 11-06-1999, 12:26 AM:
Hi Sara! Good to see another female projectionist out there (who cares about her work). Joe and Brad gave some good suggestions, but let me point out a specific topic on this forum that may be helpful - Breakdown Etiquette. I found it very informative to learn how other projectionists prefer to receive their prints.Welcome, and have fun!
Posted by Randy Stankey (Member # 64) on 11-06-1999, 11:08 PM:
Greetings, Sara;I, too, get a lot of prints from N.Y. Films. Next time I see that we're shipping out to Idaho, I'll put a note in the can, or something. If you get a print from Erie, Pennsylvania it was from me. I work at the only place in town that gets films from them.
Yes! There are a LOT of crappy films out there!
Posted by Tim Reed (Member # 137) on 11-10-1999, 12:28 PM:
Something you said indicates that you are already well on your way to building a heavy reputation as an outstanding projectionist: "trying to restore these films".This was my secret for all the years I was a projectionist. I did not show one inch of film that had not previously been through my fingers first, on the inspection bench. I had a career best of well over 10 years without a film break or a single out-of-frame! Over half of this time was spent in a revival house, showing 10-12 different films a week, with both new and old prints. Their condition ran the gamut from good to terrible shape. But there was not ONE print that I could not make run, if I spent enough time with it. Some people thought I was crazy, spending 4 hours to fix a print that was only going to run once or twice, but I would not trade that time for the piece of mind it gave. It also helped me develop a solid reputation. Consequently, I had the top union job in town.
EVERY film you get, hand inspect it. Stop on EVERY splice and check for integrity and that it's in-frame. Remake any bad splices and repair any tears or edge cuts that could catch in the film gate.
Just knowing you are not going to have any film-related problems during the show lifts a big weight off your shoulders, and frees your mind to work creatively in the other aspects of your job. It allowed me time to study the craft and learn electronics, so I could get a job as a projection service engineer.
Your interest in doing a good job is a fine quality. I know you will do well.
Best wishes!